It is obvious from his works that Heru Susilo is a painter who puts a lot of emphasis on his painting skills. Provided with such competence, after graduating from the university, Heru started to work as an artisan, creating reproduction paintings. He has produced at least tens--or even hundreds--of reproductions of classical European paintings. Understandably, for example, Heru knows the image of Mona Lisa by heart, as this is one of the most requested reproductions.

One confession begins a new awareness. Heru admits that when he started doing these reproductions, he knew nothing of European paintings. He had to learn more, to read more books about them. Now Heru start knowing some images he re-creates. Anyway, aside from the understanding demanded by his job, what made him feel uncomfortable when he realized he had not learned much about Western visual arts at school? Would you find it strange if you meet an art student who does not know who Van Gogh is? To be an artist is also to know a bit about history. It is understandable, too, why we should begin our study from the history of Western arts. In the beginning of the 20th Century, there were intense "Western vs. Eastern" debates--many of these debates took place in the territory of arts.

Heru thinks that he understands more about European arts after working as a reproduction painter, not during his time studying art at the university. It is therefore possible to conclude that the learning of visual arts today does not put much emphasis on the readings on European arts. It is also possible, however, to say that what he meant by "understanding more" was actually "being more capable to explore the [Western] images."

Heru also wonders why people are so besotted with Classical European paintings. It is as if they want to attain something, some certain images, by owning these paintings--even if the paintings are merely reproductions. Heru no longer paints the images from the past with the intention to venerate them. Instead, he questions them. It is possible that this question evolves into a longing for something local, or perhaps something "Indonesian."

While his predecessors had longed for "something Indonesian" because they wanted to resist the Western culture, Heru paradoxically learn Western arts and simultaneously miniaturize them. He reproduces them and at the same time categorizes them. Heru's habit to set apart his "independent" works--the works he makes for himself and not by order--is based on his longing for something authoritative and for some recognitions for the artistic value of his works. The habit might also be a form of admissions about his feeling of estrangement.

Heru Hikayat

Born on February 25, 1975.
Studied at Education Science Institute (IKIP), Bandung (BFA; 1999).

SELECTED EXHIBITIONS
1998 "Turning Point", YPK Building, Bandung; "Ode to Students, Nation, Indonesia" IKIP, Bandung; "Culture Show", Sebelas Maret University (UNS), Solo; "Succession", West Hall, IKIP, Bandung .
1999 Philip Morris Indonesia Art Awards VI, National Gallery, Jakarta.
2000 Group Exhibition, Indonesia Fine Art Students Communications Forum, Bandung.
2001 "Young Artists", Popo Iskandar Art Centre, Bandung; Philip Morris Indonesia Art Awards VIII, National Gallery, Jakarta.
2002 "Art Society In Town", Adira Gallery, Bandung; "Aura Machine", Fabriek Gallery, Bandung and Koong Gallery, Jakarta.
2003 "I Want To Be Much... Much Better", Geger Bitung Primary School, Sukabumi, West Java.

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